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This paper explores the challenges and difficulties faced by theatrical translators and stage directors during the process of acculturating and adapting foreign written plays to the target audience. More specifically, the focus is on the translation and performance of some of Arthur Miller's plays such as "Death of a Salesman", "The Crucible", "A View from the Bridge", "Incident at Vichy" in Albania during the socialist realism and in the democracy era. The paper contains translation and stylistic analysis of the above-referred plays as well as performance analysis in the target culture supported by concrete examples in both SL and TL. Furthermore, the paper provides a depth insight of the differences noted in terms of collaboration between theatrical translators and stage directors in the socialist realism and in the democracy era supported by archival images, article stories, reviews, etc. In conclusion, the paper aims at praising the job of theatrical translators and stage directors because they are providers of quality, professionalism, aesthetic pleasure. They both intend to render the meaning of the ST with dynamic equivalence in attempt to achieve the most awaited success on stage. Keywords: Theatrical translation, translation devices, semiotic signs, stage performance, stage directing, etc.

This article considers what the plays of Ernst Toller add to our conception of German literature about World War I. It interrogates the relevant themes that emerge in his plays: how the body at war is memorialized; the class divide as an instrument of militarism; and the responsibility to bear both sensory and documentary witness to war events. Though they are more frequently ascribed to Nachkriegsdrama or Heimkehrerdrama, Toller's plays from 1919-1930 illustrate a broader development in Kriegsliteratur from Expressionist abstraction to a more realistic treatment of historical particulars. Tracing this gradual development helps to further dispel the myth that the war experience was an unwelcome subject for German writers until the explosion onto the scene of Erich Maria Remarque and others and counters our previous overreliance on novels in studies of German war literature. It adds complexity and diversity to our understanding of German war literature, not only chronologically and in terms of genre, but thematically and stylistically as well.

Bodden reviews POWER PLAYS: Wayang Golek Puppet Theater of West Java by Andrew N. Weintraub.

The paper focuses on the legal banning and prohibition of plays and/or theatre productions, and, in extreme cases, the arrest and harassment of artists in Zimbabwe by a variety of state actors and instruments, which include the Board of Censors, the National Arts Council of Zimbabwe, the police, and, in some cases, local politicians of the ruling party, ZANU PF. Citing concrete historical examples of such cases, the paper illustrates how these state actors and/or instruments have been used to suppress content in both play scripts and/or performances. I argue that although there was play and performance censorship in the 1980s and 1990s, play bans, performance prohibitions, and harassment of artists rapidly increased during the crisis decade (1998–2008) in Zimbabwe and the life of the Government of National Unity (GNU). Using a combination of interviews and carefully selected and documented case studies of eight plays and/or performances, the paper arrives at the conclusion that there is no one narrative that can be deduced from looking at the prohibition of plays and/or performances and the arrest of artists. However, one common feature that was confirmed was that in most of the documented cases it was the performance that was banned and not the play script. In addition, it emerged that even after the Board of Censors had cleared some play scripts, the police, working alone or in association with local politicians, stopped and/or banned some performances.

An examination of the relationship between the changes in numbers, & areas of origin of colored immigrants to GB, & their appearance in fiction. The actual coverage is novels, plays & films about colored people living in GB, & is restricted to those published since 1945. In this period there has developed a sizeable colored minority group. It is shown that several of the important soc questions affecting the group have been ventilated in fiction. It suggests that fiction can usefully supplement more formal soc analyses. AA.

There is an increasing demand for an interdisciplinary approach in teaching water management. Computer-supported games and role plays offer the potential of creating an environment in which different disciplines come together and in which students are challenged to develop integrated understanding. Two examples are discussed. The River Basin Game is a common-pool resource game in which participants experience the risk of over-abstractions of water in a river basin and learn how this risk relates to the complexity of the system, the conflict between individual and group optimum and the difficulty to come to good cooperation. The Globalization of Water Role Play makes participants familiar with the global dimension of water management by letting them experience how national governments can integrate considerations of water scarcity and domestic water productivities into decisions on international trade in commodities like food, cotton and bio-energy. The two examples illustrate that plays inspire participants to think about the functioning of systems as a whole and to develop good cooperative courses of action, whereby both uncertainties about the system and the presence of different values and perspectives among participants play a role.